Double bassist, composer, and educator Sue Cahill announces the release of Evanstonia, arriving May 29, 2026 as a self-released album that marks a defining artistic statement in her evolution as a composer. Long known for her work as a commanding orchestral musician and dedicated teacher, Cahill steps fully into what she describes—through her composition mentor—as “personal music,” where classical discipline, improvisational freedom, tango-inflected rhythm, and lived experience converge.
On Evanstonia, Cahill reshapes her creative identity into something more fluid and self-determined. The album features pianist Dawn Clement, who also contributes vocals on “June February,” and drummer Dru Heller, forming a trio setting that balances intimacy with structural sophistication. Together, they create a sound world that is at once composed and flexible, rooted in form but continually reaching beyond it.
The project represents both a homecoming and a declaration. It reflects Cahill’s decision to step away, at least temporarily, from the security of academic and orchestral environments in order to pursue a more personal compositional voice—one grounded in jazz language and improvisational exploration. That shift, initiated in 2015, became a turning point in her artistic trajectory, opening space for a deeper integration of influences and a more direct connection to her own musical instincts.
Central to this transformation was her study with Boulder-based composer Art Lande, whose philosophy of “personal music” encouraged her to move beyond imitation and instead synthesize her classical training with improvisation. The result is a body of work that resists rigid categorization. Rather than abandoning structure, Cahill reimagines it, allowing form to function as a flexible container for expression rather than a constraint.
“I didn’t want to abandon structure,” Cahill reflects. “I wanted to grow out of it.” That idea becomes a guiding principle across Evanstonia, where early pieces lean toward clarity and directness, while later compositions open into more expansive harmonic movement, unexpected phrasing, and a broader sense of melodic risk.
The music unfolds as a study in balance: written material and improvisation, discipline and spontaneity, tradition and reinvention. Cahill’s bass work anchors the ensemble with clarity and depth, while Clement and Heller respond with fluidity and imagination, shaping each piece as a collaborative exploration rather than a fixed arrangement.
Across the album, Cahill’s compositional voice reveals itself as both grounded and exploratory. The influence of classical structure remains present, but it is continually reshaped by improvisational logic and rhythmic elasticity. Tango rhythms, chamber-like textures, and jazz-inflected harmony coexist within a framework that prioritizes expression over categorization.
Ultimately, Evanstonia stands as a statement of artistic permission—permission to evolve, to blend influences without hierarchy, and to write music that reflects lived experience rather than inherited boundaries. It is both a culmination of years of study and a step into a more open, self-defined creative space.
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